- Date of Release: 12 January 2024
- Genre: Drama, Thriller
- Language: Hindi
Merry Christmas
Introduction
The trailer of Merry Christmas had the line ‘Dial M For Miracle'(a clever homage to Hitchcock), and today after 30 odd years of my association with cinema, I experienced a ‘meta’ miracle. As is the case always, I zeroed in on a theatre to watch the new Hindi film, Merry Christmas. But as luck would have it, I was delayed for the show owing to heavy traffic that prompted me to eventually change plans and watch the film at Regal. Seldom did I know that the theatre showcased in the film was Regal as well, in almost an opposite point of view with the camera panning on the seats in stalls. And thus, this marked my first experience of watching a film in a theatre wherein the theatre was a part of the film!
I had to honour of attending an event featuring Vijay Sethupathi, Katrina Kaif and the auteur of neo-noir space, Sriram Raghavan. And from the interactions with the audience, it was clear that the film Merry Christmas was based on a French novel Le Monte-charge(the name kept under wraps until recently). This meant the story would have a gentle French narrative style which luckily I am familiar with, given a handful of films from France that I have witnessed. But I was looking forward on how well the viewers are receptive to this kind of cinema, despite coming from Raghavan whose every film previously had managed to score. We live in a country wherein we have been spoon-fed as far as cinema is concermed, with only a handful of filmmakers wishing to challenge the audience, with one of them being Sriram Raghavan. To top it, the fresh pair of Katrina Kaif and Vijay Sethupathi made for an interesting combination too. With much going in favour of the film Merry Christmas, does it manage to impress, let’s find out.
Story & Screenplay
Based on a French novel, Merry Christmas follows the chain of events from a single night wherein two strangers meet and strike a conversation while befriending each other. This until the sudden entry of a corpse changes the course of the night. The story is a romantic getaway in the neo-noir space while being pulpy at various junctures in the narrative. There are a lot of details to be deciphered and noted in a narrative style that is almost sweeping and lingering for long enough to indulge you in conversations. And there is a definite French touch to the drama that is set in Bombay(before it became Mumbai) wherein the city plays a major character too. The screenplay standing at almost 140 odd minutes is a slow burn while taking you on an unexpected journey until the halfway mark where the drama flips on its head.
The drama explores the old world charm of Bombay beautifully. This was an era wherein you and me may not have been born yet the architecture and vibe of the city is something that is alive even today despite a shifting landscape. So watching the film at one of the most beautiful theatres in Bombay, Regal was that much extra special for me. The drama begins with a quote by John Lennon, ‘So, this is Christmas, Look what you have done’ followed by a split screen of two grinders at work. This is a typical Raghavan opening that plays with images while coaxing the viewers to piece the puzzle. The drama quickly shifts to a later timeline wherein you see the two protagonists walking on the empty streets of Bombay on Christmas Eve. The writers are quick to restart the film with the introduction of a grief-stricken man who decides to spend Christmas Eve alone by going on a date, all by himself. You can make out that he is a loner and socially awkward, wherein he wishes to by cannot strike a conversation with the singer at a local bar. This until he meets Maria, a mysterious woman along with her ‘mute’ child, who forms an uncanny bond with Albert.
The conversations between the two protagonist are backed by pulpy homages to Hitchcock wherein you see a poster of his cult film Rebecca at a local theatre. But the conversation in itself reminded me of the English film Before Sunrise or the more recent Tamil film 96(that also featured Sethupathi). The drama is a slow burn, completely relying on the intellect of the viewers to indulge in the conversations that are spewed with crucial details that would later be used as a foreshadow. This made for a memorable first hour which was so brilliant and meticulous in its writing that a twist in the tale just before the halfway mark was shocking and subtly unexpected(given that it came out of the blue). This was probably the finest utilization of the neo-noir genre wherein the city and its pink and grey hues played such an important part in conveying to the viewers that something is amiss!
In classic Sriram Raghavan style, the thrill element kicks in after the halfway mark wherein the same set of incidents recur with another character. This does contribute to the dark humour that was previously seen in Raghavan’s filmography. A little homage to Andhadhun was spectacular with the character of Albert screaming loudly, a la tribute to the shocking face-off between Tabu and Ayushmann in Andhadhun. In between, there are pulpy references to yesteryear’s films in the Hindi space as well as some classics. Films like The Merry Widow is tactfully given homage after a character mentions it, followed by a double decker passing by with the poster of the film. There are easter eggs to be claimed much like other works of Raghavan wherein you need to be attentive to the drama.
The final act and the events leading towards it are spectacular while wonderfully establishing a bond between the two protagonists even as skeketons tumble from the closet. This is followed by a brilliant police station scene that makes for a subtly hilarious watch. And I wish to discuss a little on the final act and my interpretation of the open ending, so Spoilers Ahead! In the final act, everything has gone as per plan for Maria and Albert with both having alibis while having disposed the body of Maria’s husband. This until her child speaks for the first time while the drama reaches its conclusion purely through frames. My interpretation is that the character of Albert was head over heels for Maria after finally having overcome his ex(post the murder that he had created). And so he decides to give himself up by providing the ring that he has been carrying to Maria, signifying that Maria is his new Rosie(his ex) while hoping that she remembers her. This was in contrast to what the inspector thought wherein he stated that he can’t possibly commit a murder on the first day after releasing from prison. But there was an important character of Devraj, a character on parole who may have eventually saved Albert. If you notice, Albert had made a call to him right at the beginning of the film which meant that he knew Devraj, a man connected with his past. But would Albert want that? I guess not! Overall, this was a fabulously penned screenplay and after a while I came across a Hindi film who after-effects did linger long after the film had ended.
Dialogues, Music & Direction
The dialogues are conversational and you need to pay attention to the details that are casually spewed through the lines. Along the way, the mood of the drama also becomes philosophical through the exquisite lines that hold your attention throughout. The music does paint a very retro image of Bombay while staying true to the vibe of the drama. So you notice some jazzy beats in the first hour that sets the atmospherics for the drama to follow while getting mildly playful in the view of the dark humour in place. The BGM doesn’t always lead you into feeling a particularly set of emotions from the beginning of the scene. At times, the musical notes begin from the middle of a scene while taking the emotions to its conclusion. This is particularly true in the first hour where the setup is tactfully being built for a solid foundation.
The cinematography coupled with the lighting accounts for some gorgeous frames filled with pink and grey hues that depicts the neo-noir world perfectly. Also notice the final act, wherein the revelation expertly unfolds just through frames. The editing is sharp and crisp while allowing conversations to flow beautifully. There is an occasional jump cut that catches you unaware while contributing to the thrill factor in the drama really well. Director Sriram Raghavan is truly an auteur of the neo-noir space wherein he loves to give the narrative a twist through some pulpy homages and references. But from the sheer point of constructing a drama and playing with the atmospherics, there isn’t a filmmaker better than him. And his ability to sporadically offer gentle twists while relying on the intellect of the viewers is highly commendable. The direction is top class here in the purest sense of the word.
Performances
The performances are outstanding here by the ensemble cast. There are sparkling cameos from Luke Kenny, Gayathri Shankar, Radhika Apte and Ashwini Kalsekar(just so hilarious) who contriibute to a great watch. Viny Pathak and Pratima Kannan are excellent in their respective roles while staying true to the tone of the drama. Sanjay Kapoor is amazing to watch while honestly having a ball onscreen. I have noticed that unlike the early parts of his career, his second innings has been more impressive wherein he is seen to be enjoying his art.
The stars of the show are Katrina Kaif and Vijay Sethupathi as Maria and Albert respectively. There are layers to be discovered in both characters while the common thread being of grief, ofcourse in different capacities. The purpose of life for Albert did flash in front of him at the end of the film wherein he decided to give himself up. The opposite was true for Katrina who had to take a plunge with respect to her relationship with her husband. But the chemistry between the pair is infectious and you do end up silently rooting for them. Both of them were absolutely brilliant in their performances that stayed with me, long after the film had ended.
Conclusion
Boasting of fabulous performances, Merry Christmas is a brilliant love letter to neo-noir-ism from the auteur of this space Sriram Raghavan, that makes for an incredible watch. Do not approach this film as a thriller, instead treat it as a love story and you won’t be disappointed. Christmas might have arrived late from last year but it was worth the waiting period! Available in a theatre near you and Highly Recommended.
